Shanell. From the Heroines & Vixens series. Photo: Tony Ward, Copyright 2025
Art Collector vs. Patron of the Arts
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Two Sides of the Same Coin?
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In the world of art, the terms “art collector” and “patron of the arts” are often used interchangeably, but they represent distinct roles with unique motivations and impacts. While both contribute to the cultural ecosystem, their approaches and legacies differ significantly.
An art collector is typically driven by a passion for acquiring and owning art. Their focus is often on building a personal collection, whether for aesthetic pleasure, investment, or social prestige. Collectors are known for their discerning taste, seeking out works that resonate with them or hold potential value. They may specialize in specific genres, periods, or artists, creating a curated portfolio that reflects their personal vision. For many collectors, the thrill lies in the hunt—discovering hidden gems, attending auctions, and negotiating acquisitions. Their collections often become a testament to their individuality and influence within the art world.
On the other hand, a patron of the arts embodies a broader, more altruistic role. Historically, patrons have been individuals or institutions that support artists and cultural projects, often without the expectation of ownership. Their contributions can take many forms: commissioning new works, funding exhibitions, or providing resources for artists to create. Patrons are motivated by a desire to nurture creativity and ensure the survival of artistic expression. Unlike collectors, their legacy is not tied to the possession of art but to the impact they have on the artistic community and society at large. Think of the Medici family during the Renaissance, whose patronage enabled masters like Michelangelo and Botticelli to flourish.
While collectors and patrons may overlap—some collectors also fund artists or institutions—their primary distinctions lie in intent and outcome. Collectors enrich their own lives and spaces, while patrons enrich the cultural landscape for everyone. Collectors often seek recognition for their acquisitions, while patrons derive satisfaction from the growth and success of the artists they support.
In today’s art world, both roles are essential. Collectors sustain the market, driving demand and value, while patrons ensure that art remains accessible and innovative. Together, they form the backbone of the art ecosystem, each playing a vital part in preserving and advancing human creativity. Whether you’re drawn to the allure of collecting or the generosity of patronage, both paths offer a meaningful way to engage with the transformative power of art.
Gina Iannece. Vixen. Photo: Tony Ward, Copyright 2025
Text by Gina Ianneci, Copyright 2025
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Model: Gina Iannece
Photographer: Tony Ward
Creative Director: KVaughn
Hair & Makeup: Michael Connor
Lighting Grip: Anthony Colagreco
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Meeting The Moment. A Career in Fashion
In Tony Ward’s “Heroines and Vixens” photo series, I resonate with the duality of strength and allure that defines these women. As someone who has navigated the dynamic world of fashion, I try to embody the resilience and determination of a heroine, while also embracing the bold, confident spirit of a vixen. This series beautifully captures the multifaceted nature of women, reflecting both the power and grace that I strive to bring to my professional and personal life.
My fashion career started in wholesale operations and sales for Nomination Jewelry in the 2001 at the height of their composable charm bracelets popularity in North America.
Next, I had the pleasure of working for the iconic sisters Tish and Snooky, the creators and owners of alternate beauty brand Manic Panic NYC. While managing global sales for key accounts, I traveled to London and
Germany to represent the brand. I also personally negotiated a deal for placement in Sephora stores in the United States.
Because of my success at Manic, I was offered a new position, I went from Punk Rock to Polo. Shifting to a more corporate environment at Jones Apparel Group, working on sales for Oxen Workwear and as the assistant to the VP of Design for Polo Jeans Co, was licensed to Jones at the time. Polo Jeans Co was bought back by Ralph Lauren, and I stayed with the brand transitioning into merchandising. I helped create and launch the brand Denim and Supply by Ralph Lauen, managing men and women’s denim apparel and accessories.
The immense popularity of Denim and Supply led to the end of another Ralph Lauren brand Rugby which ended up leading to layoffs. I lost my job. This is the first time I was laid off and I was devastated. I had developed a love of denim while at Ralph. The different fabrications, weaving and wash techniques, I love all of that. So, I was targeting new roles in denim merchandising and this took me to Giorgio Armani.
I joined that A/X Armani Exchange during a new transformative period for the brand. At the time ,ownership was split between Giorgio Armani corporation and Presidio.The creative team was attempting to change the brand direction away from the overly embellished “Jersey Shore Vibes.” I was responsible for merchandising, buying and sales for women’s denim and woven’s and was a part of the team that helped to elevate the assortment and brand back to its 90’s aesthetic.
Unfortunately, this was short lived, and I was laid off again when Armani decided to buy out Presidio as they shifted the merchandising roles to the Italy team. While at A/X, I was responsible for buying and I could see
Ecom taking over retail. Feeling like I wanted a change of direction I started to seek roles in ecommerce, I took an in-between job and eventually landed an opportunity in digital back at Ralph Lauren.
It was a contract freelance position to cover a six-month maternity leave, but I would end up being hired and stayed with the company for four years. There were merchandising aspects to the job, but the primary responsibilities were to manage digital assets to be used for sales and marketing for the Chaps brand. The role grew to include managing operations and Ecom account management. I played a key role in launching Chaps brand apparel accessories and home goods on Amazon, the first RL brand to sell via the platform.
Gina Iannece. Heroine. Photo: Tony Ward, Copyright 2025
We reached 2020 and were hit with the Covid 19 Pandemic. Retail stores were shutting their doors. The entire Chaps team in all departments were placed on furlough except me and maybe five others. I continued to manage Ecom accounts and create new content, still traveling to various offices in NY and NJ. I found ways to work with the photo
studio and still adhere to health restrictions. I kept the hustle going. Then one day, I was invited to an MS Teams meeting with the entire team and informed that Ralph had sold Chaps, resulting in immediate layoffs. I was asked to stay until spring 2021.
My most recent position was with Randa Apparel and Accessories. RAA is a private family owned company that has been in business for over one hundred years. They hold licenses for many top brands and produce mostly small leather goods like belts and wallets. I managed operations and sales for their Ecom accounts and marketplace/DTC. I joined as they were starting to move into women’s accessories and facilitated highly successful brand launches for Calvin Klein, Cole Haan, Levis, Sam Edleman and Tommy Hilfiger.
But I knew what was coming in 2024, when Randa announced that they would be acquiring Totes and Isotoner. The inevitable restructuring happened, and I was a part of the layoffs. It happened right around the winter holidays when hiring is slower or on hold. So, I began my new job search, started networking, and taking online classes. And I said yes to this chance to be in front of the camera for the first time.
As for this opportunity to be photographed by the TWS team, even though I sought it out, I was not prepared when Tony Ward asked me to contribute to this project, but I am so happy that I did it.I decided to meet the moment, and everything just seemed to align perfectly. I started sharing wardrobe ideas with the creative team and Tony shared the background which I absolutely love. Kvaughn had a vision for silver and Anthony Colagreco found the armor that I ended up wearing. It was giving synchronicity vibes.
The weeks leading up to the shoot were about collaborative preparation. The day of the shoot I was nervous but that quickly turned to excitement by the time Michael Connor finished with me in the makeup chair.Everyone was professional and encouraging. The studio space was incredible – bright with beautiful wood floors and white walls covered in photos. It felt like being in an RL showroom. The energy was infectious and I felt seen and heard in the room. This experience was one of the best of my life. I will cherish the memories, images, and the shoes that Kvaughn sourced and gifted to me forever. A week after this photo shoot, I accepted a job offer and am excited to start a new position soon.
Gina Iannece. Photo: Tony Ward, Copyright 2025
About The Author:
Gina Iannece is 48 years old, living in New York. She is a decades long Tony Ward Studio fan and first time contributor to this webzine.
The world of teen modeling often shimmers with allure—fashion shows, photo shoots, and the promise of fame. For many teenagers, it’s a dream career that promises glamour and creativity. However, the path to success is far more complex than it appears, fraught with challenges and risks that accompany the potential rewards.
For aspiring teen models, the appeal is undeniable. Modeling offers opportunities for creative expression, travel, and exposure to the fashion and entertainment industries. It can also serve as a platform for building self-confidence and connecting with like-minded creatives. Success stories of young models landing major campaigns or becoming household names fuel the dream, inspiring others to follow in their footsteps.
The journey to becoming a successful teen model is anything but smooth. The industry is fiercely competitive, with casting calls often bringing rejection after rejection. Many teens struggle to balance school commitments with the demands of modeling, including travel, photo shoots, and fittings.
Additionally, the industry’s strict beauty standards can be mentally and physically taxing. Constant scrutiny of one’s appearance can lead to insecurity or unhealthy habits as teens try to meet expectations. The pressure to maintain a specific look while navigating the formative teenage years can take a toll on self-esteem.
Teen models are particularly vulnerable to exploitation. Scams are common, with fraudulent “agencies” preying on young hopefuls. Even within legitimate spaces, teens may face inappropriate requests or unsafe working conditions. Without proper guidance, they may sign unfavorable contracts that limit their control over their careers.
Furthermore, the industry’s demand for perfection can contribute to long-term mental health challenges, including anxiety, depression, or eating disorders. Families must be vigilant, ensuring their children are supported emotionally and professionally.
Despite its challenges, modeling can offer valuable life lessons. It teaches discipline, professionalism, and resilience. For those who succeed, the rewards can be significant—financial independence, global exposure, and the chance to influence industries beyond fashion. Many models leverage their platforms to advocate for causes or launch secondary careers in acting, design, or business.
For teens considering modeling, preparation is key. Research reputable agencies, involve parents or guardians in decision-making, and set clear boundaries. Prioritize education and personal well-being, and never compromise integrity for success.
Modeling, like any career, comes with risks and rewards. For those ready to navigate its highs and lows, it can be a transformative journey—but only when approached with caution and care.
In the vibrant world of fashion, creativity knows no bounds, yet representation often falls short. Enter a groundbreaking comic strip that centers on the journey of a Black fashion designer, illuminating both the struggles and triumphs faced in an industry rife with challenges. This comic strip serves not only as entertainment but also as a powerful medium for social commentary.
Artwork by Antoinette Naseef, Copyright 2024
The protagonist, inspired by real-life figures like Ann Lowe and Dapper Dan, navigates the complexities of the fashion industry while grappling with personal and cultural identity. Each panel showcases the designer’s evolution, from sketching designs in a cramped apartment to showcasing at prestigious fashion shows. The character’s journey is punctuated by moments of doubt, systemic racism, and the relentless pursuit of acceptance in a predominantly white industry.
Artwork by Antoinette Naseef, Copyright 2024
Visually, the comic strip bursts with color and style, reflecting the richness of Black culture. Each outfit designed by the protagonist serves as a canvas for storytelling, incorporating traditional African motifs and modern aesthetics. The art style blends realism with a whimsical flair, drawing readers into the designer’s world. Fashion becomes not just a profession but a form of self-expression and cultural pride.
The narrative arc emphasizes community support, showcasing interactions with family, friends, and fellow artists. These relationships highlight the importance of mentorship and solidarity, reminding readers that success is often a collective journey. Through witty dialogue and heartfelt moments, the comic strip captures the spirit of resilience, inspiring aspiring designers to embrace their unique perspectives.
Artwork by Antoinette Naseef, Copyright 2024
Moreover, the strip addresses broader societal issues, prompting discussions about diversity in fashion and the need for inclusivity. It challenges stereotypes and encourages readers to celebrate differences rather than conform to mainstream ideals.
In conclusion, this comic strip about a Black fashion designer is more than just a story; it is a celebration of creativity, identity, and resilience. By weaving together fashion and storytelling, it inspires a new generation to break barriers and redefine the narrative in the fashion world.
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Antoinette Naseef
ABOUT THE AUTHOR:
Antoinette Naseef is a formally trained artist and designer. She is based in Philadelphia. Her works are inspired by Nature, ancient Ethiopian art and pop culture. Antoinette’s Work has been featured in New York Fashion Week, Galleries, events and web publications.
I have written multiple posts here about my professional life. The summary if you’re new here, and to my ramblings, is that I have a lengthy nonprofit fundraising background. In 2019, I landed what seemed to be my dream job. But just like an actual dream sometimes does, after a while if became more like a nightmare. I landed on my feet, in a position where I’m doing great things, being valued for who I am, what I bring to the organization and being fairly compensated for it all. However, again, just like flashes of nightmares rear their ugly heads during waking hours, my old job pops in to haunt me every now and then.
When I left my previous role, I can count on one hand – actually, one finger – the number of people I chose to give permission to contact me personally. We occasionally send messages to check in, say hello, catch up. It had been months since I last heard from them. Until a few weeks ago. “Kat, I miss you. There is so much to tell you, can I call you after work today?” You bet I cleared my plans for the rest of the night to take that call. I am so glad I did.
Let me back up quite a few paces to when I was still working for the previous organization. In many companies, a change in leadership often leads to some staffing changes, people leave, new people start, positions change, structure changes, policies changes. It’s not at all unusual. However, when the changes start to feel heavy and unnecessary, and good people are forced out, it’s hard to stay positive. That’s what happened to my dream job. The chosen replacement for the individual who hired me, encouraged and trusted me, and built an incredible team of passionate talented people, was abruptly removed from the position.
Shortly after the beginning of that end, one of the newer members of my team suddenly took an interest in me and my role. They often came to my desk to talk about my work, my workload, and unprompted by any of my words or actions, expressed that I must be stressed and overwhelmed with it all. That became the frequent theme of conversation; and it was odd. Something about it, just wasn’t sitting right. I kept asking myself, are they trying to make me feel stressed? Should I be responding to my job in a way other than I am? What is the point of this repeated conversation? It was enough for me to keep them at a distance and stay wary, while still working together as needed.
It was right around this strange time when the new boss was announced to replace the one I had built such a wonderful working relationship with. I tried to stay open minded. Within the first few weeks, each person was scheduled for a one-on-one introductory meeting. Mine was the last on the agenda. I came prepared with everything about what I did on a daily basis, prepared for any questions they might have. We had an hour. The first question I was asked threw me for a bit of a loop. It was about the organization I worked in prior to this one, and one person in particular from that team. The tone of the question made it feel like my answer would set the stage for not only the rest of this meeting, but my position with the team. I carefully acknowledged, yes, I knew that person, but we never worked very closely and they left before I did. I left out my feelings relating to the absolutely unhinged series of accusations and comments lodged at me by this person regarding someone else’s inappropriate behavior toward me! I also watched in absolute horror as the indicators on my new boss’s smart watch flashed over a dozen new text messages from the very same person. Yikes, not a good start.
Life over the next few months in and out of the office wasn’t great. Home repairs and family stress on top of increased pressure and unvoiced expectations from my new boss were making me ill. The colleague I had kept at arms length had been given a wildly unexpected promotion within our department. It was abundantly clear that the role was by far outside of their scope of experience. It wasn’t my call but I congratulated them all the same. Work that had been done by the person in that role previously, though, suddenly was finding its way onto my desk with no instruction on how to complete it or the technical access needed to do so. I made it clear that this had never been a function of my role. I would be happy to learn it and eventually adopt it, but needed time to learn and understand it. That statement was met with the ultimatum of do it now or don’t work here anymore. By the time I walked the dozen or so steps from the boss’ office to my shared cubicle space, there was an email message to HR summarizing and documenting the discussion about my failure to meet the expectations of my job. There was nothing constructive, there were no official action steps, progress improvement plans, or even consequences stated. I was in panic mode. I pressed the newly-promoted colleague for assistance as the new to me tasks were formerly theirs. I got very little help directly. I found out quickly that they couldn’t help because they didn’t know how; which explained how it got onto my desk in the first place. A consultant eventually provided the solution and I carried on with my newly assigned work.
I wish I could say that was the end of it and I continued happy along with just an increased workload. But sadly, that’s not even close. Human Resources never even acknowledged receipt of the “failure to perform” email. I had no follow up meetings about it. In fact, it was never again mentioned. Meetings with my boss were rare, and rarely longer than five minutes unless the boss had strong feelings about a project, and by that I mean absolutely disagreed with everything I had done and demanded it be redone. I felt ignored and unsupported unless I was being reprimanded. Yet, every project I led was successful, raising literal millions of dollars.I was confused and stressed, preparing every day to be fired. The only upside was that the strange conversations stopped. My concerned colleague was ignoring me too, but was always in the boss’ office. My gut was screaming at me that something wasn’t right. People all around us were resigning, often being escorted out of the building instead of working out their two weeks’ notice.
I confided in the one trusted person I mentioned previously. They absolutely agreed with me that something had shifted. We commiserated daily about how much of a downhill slide morale had taken and took every opportunity to make one another laugh through the frustrations. When even those laughs weren’t enough, I began to look for a new position and soon I announced my resignation. The sheer relief on the boss’ face that day was off-putting, I had never seen them so happy. The joyful congratulations given to me by the other colleague I was wary of was equally disturbing. They were chatting animatedly, and very quietly and privately, for a good portion of that day. They even arranged my farewell happy hour, strangely insisting on a particular place I had never been and couldn’t enjoy much offered on their menu due to dietary restrictions. I went, and was for the most part ignored by them which was fine by me. I made it out. And very shortly after that boss was gone too, though I didn’t much care.
Back to present day. When the phone rang that night, I immediately picked up. After exchanging all the normal pleasantries one would expect of former colleagues who haven’t spoken in months, we dove right into it. The colleague I was wary of resigned but not before letting slip something extremely interesting. Back when that ‘new’ boss had been announced, this colleague reached out to them on a professional networking channel to unofficially welcome them to the organization. They met for dinner prior to the official start date informing and inviting no one else from the department. They discussed, at length, the weaknesses of the team. Guess who topped that list? Guess who, coincidentally, thought they would be great at the job if given the chance? I suppose this person felt a sense of “what are they going to do fire me?” once their resignation was tendered especially since neither I nor that boss were working there any longer. They held this knowledge in for nearly three years. I wonder if it was relief or pride they felt in finally expressing it to someone else.
I sat on the phone absolutely dumbfounded for a minute after the story (and a few intersecting stories, because you know a proper catch up session is never a linear occurrence!) ended. And then it all just came spilling out in an expletive filled rant that I can sum up in four words: I F*CKING KNEW IT.
From the first strange conversation, to the introductory meeting centering on my relationship with a previous colleague, to the already drafted email that went to HR immediately after an unplanned meeting about my failure to perform tasks that were never mine, my gut was warning something wasn’t right. As paranoid as it seemed, I felt as if there was a plot brewing against me.Every day the feeling progressively grew, intentionally fostered by two other people, until I had to remove myself from the situation. And I wasn’t paranoid or crazy. I was right. My gut was right, I am so glad I trusted it. I can’t imagine that I wouldn’t have been fired if I didn’t leave on my own. They were actively setting me up to fail. I don’t have to imagine to what end.One person believed another’s made up claims about me and I was in the other’s way.
I never wish ill on anyone. I just hope that one day, the way they treated – and mistreated – others in the act of self-service is delivered back to them and they get everything they deserve, nothing less. Do unto others and all that…
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Kitchie Ohh. Photo: Michael Bann, Copyright 2024
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Kitchie Ohh is a full-time professional fundraiser who has worked with a number of health and human services nonprofits in the Philadelphia area over the last 20 years. She found her passion for modeling after a pinup-style photoshoot in 2013. Since then, she has worked with many talented photographers, stylists, hair and makeup artists in a variety of styles. She has been featured in- and on the covers of – multiple print and digital publications. Over the years, she has branched out from pinup studio modeling to serve as a figure model for live sketching, walked a runway, and was part of two campaigns for Philadelphia designer K. Vaughn.
In addition to her philanthropy-focused career, she has volunteered with art, historical, and community organizations, and even the events team of a local brewery for a while, pre-pandemic.
You’re just as likely to find her whipping up something deliciously plant-based in her kitchen or knitting a sweater as you are to find her on a photography set. Her motto is “be both.” The model and the homemaker, sultry and sweet, serious and silly. All the things, all at once. To access additional articles by Kitchie Ohh, link here:https://tonyward.com/kitchie-ohh-overwhelmed/
